Good version, but what the hell is that second voice when he sings Bigmouth??

Click to expand...

Even on the album version I always thought it sounded strange.
As if choir vocals behind the leading voice were doubled and recorded at higher speed.
I thought it sounded like The Muppets.
But don't get me wrong, Bigmouth is a hell of a song as Brian Eno said and a great single!

Even on the album version I always thought it sounded strange.
As if choir vocals behind the leading voice were doubled and recorded at higher speed.
I thought it sounded like The Muppets.
But don't get me wrong, Bigmouth is a hell of a song as Brian Eno said and a great single!

Click to expand...

There's an interesting bit about said in Sound on Sound's excellent S.Street interview:

"Meanwhile, take a look at the album credits and you'll see that the slightly weird-sounding, high-pitched backing vocals on 'The Queen Is Dead' and several other tracks were performed by one Ann Coates. Ever wonder what happened to her? If so, you'll be hard pressed to find out. Ms. Coates, you see, was otherwise known as Morrissey with a pitch-shifter.

"I was experimenting one day, trying the AMS harmoniser with different pitch changes, and it kind of worked and he kind of liked it," Street explains. "So, we decided to go with that; me putting him through a 1.5 on the harmoniser. You can hear it on 'Bigmouth Strikes Again' as well. Morrissey was a great one for wanting me to try out effects on his vocals. At that time, apart from the harmoniser, he didn't go for much backing vocal or harmony work — he's done that more on recent albums — but he did like to experiment. And the fact that I did this to a greater extent than John Porter, using his vocal like an instrument, probably helped endear me to Morrissey."

There's an interesting bit about said in Sound on Sound's excellent S.Street interview:

"Meanwhile, take a look at the album credits and you'll see that the slightly weird-sounding, high-pitched backing vocals on 'The Queen Is Dead' and several other tracks were performed by one Ann Coates. Ever wonder what happened to her? If so, you'll be hard pressed to find out. Ms. Coates, you see, was otherwise known as Morrissey with a pitch-shifter.

"I was experimenting one day, trying the AMS harmoniser with different pitch changes, and it kind of worked and he kind of liked it," Street explains. "So, we decided to go with that; me putting him through a 1.5 on the harmoniser. You can hear it on 'Bigmouth Strikes Again' as well. Morrissey was a great one for wanting me to try out effects on his vocals. At that time, apart from the harmoniser, he didn't go for much backing vocal or harmony work — he's done that more on recent albums — but he did like to experiment. And the fact that I did this to a greater extent than John Porter, using his vocal like an instrument, probably helped endear me to Morrissey."

Anything that helps promote is good in my book.
That said, ironically, at least one band member is already decrying Spotify via indirect posts:

Post concerned in full:

I don't disagree with the sentiment, but given its recent use by The Smiths and possibly Moz, perhaps he should be a bit more guarded. I think most 'end users' are very happy music will be available via Spotify.
Regards,
FWD.

I don't disagree with the sentiment, but given its recent use by The Smiths and possibly Moz, perhaps he should be a bit more guarded. I think most 'end users' are very happy music will be available via Spotify.
Regards,
FWD.

Click to expand...

Of course Spotify should pay songwriters! Of course big companies say they don't have to when they have to pay money! It's a classic and that's the same answer given by any thief who steal your assets in any circumstance.
Spotify is based in Sweden if I'm not wrong, and it gives a decent service to millions of users, some of them don't have easy access or not access at all to some music in a physical format, even when they would like to. That's their business model.
Those companies have geographical sited headquarters in planet earth, so at some point they must follow a national law. If that local law is not fair the country could be compelled to change the law. At last it's just a matter of power, since law and its obedience are very linked to actual power, it's a rationalisation of a given statu quo.
People who live in less powerful countries know very well the feeling when your country has no negotiation power. Powerful countries make laws that benefit their own comercial interests and you as a civil or a company may find in a given situation the country where you pay taxes can't negotiate a better legal or commercial outcome for your interests with the foreign government that's ruining you or both of you. The same can happen within the same country, less powerful groups are affected by powerful lobbies.
We hope Sweden courts and government will eventually have to answer for this and other deeds at any level. If they don't do it, that's what national states are for. That is, to negotiate with Sweden a better outcome for its fellow songwriting citizens or residents , who theoretically pay taxes on profits they receive from foreign companies. It's a win/win situation, or not.
Nice moment to think about who promote the aniquilation of national and/or local states and the rise of supranationalism. Who win? Apparently in the end not common people's interests. Who can fight alone against monsters of a thousand heads? Who will be or should be on your side? Not a foreign company. Ganglord... I'm turning to you to save me... Harsh truth.